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In early 2005 I put up recordings at Broadjam.What I can say is that my more formative recordings from when I was mostly copping riffs from classic rock and post punk acts to make originals (all by tape) fared better then my newer digital recordings that came from my head and soul.

I have not tried TAXI, but notice that one's individual track record and slogging it out means little to publishers.Broadjam to my knowledge does not charge fees for posting or for someone working their way up the ranks in it.Not to diminish TAXI, but to get very far, it will often take money and connections.Some say talent and not entirely money.But if you look at the mainstream and what qualifies as talent to publishers and such organizations, that is subject to opinion.Much is luck for who you find for that matter.

The way I look at it is if I were out to market myself it would be those small percentage of professionals that might see something in my songs.

My newer recordings would probably fare better.

Not that I go out of my way to be different, but trying to make a totally original (may be considered obtuse) idea listenable is much harder than copping a famous artist.My recordings could be inspired by anything.And I do not always know what.

There are more ways to get a professional opinion.Not everyone judges talent by what sounds like a hit single.So I guess it is how you look at it.The clout for Broadjam definitely might not be there.

But for those that try their ass off with their own set of artistic plans there could be more to eek out.

I think I may submit songs again to Broadjam for a more clear idea.

There have been people that have had their own take with music, or not professional that have not liked my songs either.I am here to be more classicist and to learn more about home recordings.If I were out to have a better chance to market I would have stuck with just post punk.I would just be interested in what Broadjam is like now.

I grew up musically before the alternative rock scene became in vogue and remember what the pre-alt scene (hair metal, classic rock)said to these alt rockers that played around all original songs, and much worse than what I have even heard with my stuff.People have been real kind to me in comparison.But look who made it?

What Broadjam did almost seems like an extension of that.The major labels would not even look at the alternative acts until they sold through indie labels.

As a member of both I see both differences and similarities. So here are the differences:1) TAXI has listings of bonafide opportunities for artists and songwriters who are pitching themselves or their songs to labels or publishers. The songs in these opportunities actually have the potential to be cut an artist who may achieve rotational airplay on commercial radio and thus produce a hit. "Buy Me A Rose" by Kenny Rogers is the prime example of a TAXI success story. The song was written by two TAXI members who submitted the song to a listing and the rest is history. I personally saw those writers perform their song at a Road Rally before it became a hit and knew that the song would be a hit.

2)TAXI has a Road Rally every year where one can network in person with real industry people as well as other artists and songwriters.3)TAXI has a forum on its website where members may post material for evaluation, network with other members, and promote themselves.

The similarities are:1)TAXI and Broadjam have the film and TV opportunities for which their members have successfully placed many songs. Some TAXI members now can support themselves through their music because of the initial opportunity TAXI provided.2)Like TAXI, Broadjam enables subscribers to have peer evaluation of their songs. However since the members who critique other's song are given points for credit to use for adding more of their own songs to their accounts, it appears that sometimes the evaluation one receives is just an exercise to earn those points. For example one could receive all ones or threes on a five point scale for all twelve of the song components being rated - with the bare minimum of comments.

Broadjam enables subscribers to have peer evaluation of their songs. However since the members who critique other's song are given points for credit to use for adding more of their own songs to their accounts, it appears that sometimes the evaluation one receives is just an exercise to earn those points. For example one could receive all ones or threes on a five point scale for all twelve of the song components being rated - with the bare minimum of comments.

Most of the listings that I've been getting from broadjam are for reality shows.I won't watch them let alone contribute to them.Broadjam was cool when they first started out & were partnered with Taxi.They have morphed into an outhouse!

I have had success posting on TAXI and Broadjam.Steve Klingforth has 3 of my songs done on his page,"Daddy's Old Steel Guitar", "Waltz I Danced With You" and "This Heart Of Mine".The online player is kinda slow to load up, but worth the wait.

When you’re forwarded by TAXI, they give you the forwarding company’s name. Broadjam could be sending your music to the man in the moon. The only way you'll ever know is if the forwarding company contacts you directly.

I also contacted several Broadjam members that got publishing deals through Broadjam’s mechanism. Not one of them actually got placements as yet. Publishing without placements is like an automobile without gas - useless!

I was a member of TAXI when Broadjam provided the interface by which we submitted our music to TAXI. I've never been impressed by the fact that BJ went into competition with TAXI, to me that's a lack of integrity. Having belonged to both, I eventually cancelled my Broadjam hosting and moved my web pages over to Hostbaby.

as Brian has said, TAXI's the 'pro league' of songwriting and I've spent the last 4.5 years 'in training' to bring my music to the level needed to get past the gatekeepers and start working for me. Their coaching has been so successful that, after years of 'returns and rejections', I had multiple forwards and signed 3 deals for my music in 2008. Not every deal I've signed has been directly because of a TAXI forward, but every piece of music I've signed is successful because of TAXI's influence on the standard of my work.

I've been a TAXI member for 4.5 years. Do I get value from my membership? You bet. I wouldn't be a member otherwise. My membership runs out in June 2009 & I'll be saving my pennies to renew!

I'm new here, so forgive me bustin' in the place and being kinda loud.

I just happened across this discussion, and found it interesting. I'm neither a member of TAXI or BroadJam, but I did find one inconsistency here that I feel I must correct...

It was stated that BroadJam reviews earn a reviewer points toward further song uploads. This isn't accurate. I may not be a member, but I reviewed their site recently for an offline publication (along with TAXI and some others; ReverbNation, etc.) The review mechanism on BroadJam earns the reviewer points so that their songs may be reviewed in return. Members on BroadJam have a set number of song slots per their membership. The highest membership allows for 250 uploads, for instance.

All in all, despite much online comparison of BroadJam and TAXI, there isn't much between them, save the price. I've heard good and bad about both, and all that commentary seems to be the usual mine is better than yours. Having spoken with members of a number of services, I can honestly say that each has its merits. None of the mainstream players are a scam. Though I do feel that I should point out that BroadJam do an admirable job given that they're about 20 employees strong. I think both could learn something from each other. If only they hadn't fallen out.

Welcome to the site. Do you have a website or a real name? I see you're from Wisconsin, just as BroadJam is.

I am also curious how you know how many employees they have? And what relevance that should have in general? Do you work for them? Your post suggests that either you do, or you have some other vested interest in them. If you do, that's fine, just be upfront about it. Being anonymous and from Wisconsin with the entire nature of your post all seems suspicious and purpose serving. Your points are not valid nor correct, so that further adds to the problem. TAXI is dramatically superior in every way to BroadJam. It's not even close on any level. To reach the conclusion you did means you either didn't do your homework, or you have a dog in the race.

What is the publication you did the review for and where can we read it? Perhaps that will shed some light on why you feel the way you do.

[quote=Xome]I'm new here, so forgive me bustin' in the place and being kinda loud.

I just happened across this discussion, and found it interesting. I'm neither a member of TAXI or BroadJam, but I did find one inconsistency here that I feel I must correct...

It was stated that BroadJam reviews earn a reviewer points toward further song uploads. This isn't accurate. I may not be a member, but I reviewed their site recently for an offline publication (along with TAXI and some others; ReverbNation, etc.) The review mechanism on BroadJam earns the reviewer points so that their songs may be reviewed in return. Members on BroadJam have a set number of song slots per their membership. The highest membership allows for 250 uploads, for instance.

My apologies for not keeping up to date with the Broadjam changes. However for most of my years of membership with Broadjam, it had been the case that reviewers did earn credits for their reviews. Broadjam has made many changes recently. That was one of them. I'll also add that the member gets to submit an evaluation of their song's reviewer. So that if one gets a nasty or rude reviewer, one may indicate a preference not to receive reviews from them anymore.

TAXI Will pitch your demo if it is a quality song, the demo is professional and the song is right for the project. Broadjam is not in the same line.

Last edited by Split Level; 03/09/0911:05 AM.

Have been working at E.M.I. Hayes U.K. in many departments starting as Tea Boy and worked through to A and R, New Artist Management,Co Writing , with Boy Bands, and some solo actsI have always played in bands,

SPLIT LEVEL psuedonymn of course to many thieves and robbers on the web these days

Broadjam splits its submission fees with the listing company. Plenty of motivation to run a "listing." That's not much motivation to vette a company that runs a listing. In fact, it's a conflict of interest much in the same way it's a conflict for SonicBids, who openly admit they don't check out the honesty of any of the companies they do business with meaning unless you can investigate an opportunity, you may well be ripped off. What motivation would BroadJam have to check out their listings if they are sharing money with them just to get them in the first place? Broadjam does charge a submission fee.

They don't provide professional critiques (except for their contests. I wonder if those contests are legal in every state? Anyone know?)

They don't offer a convention/conference, which TAXI includes for free. And it's considered by many, myself included, to be the best music conference in the industry of ANY kind.

Oddly enough, they don't have a message board forum where their customers can keep them honest. Why is that do you think?

That's just a few thoughts I had while waiting for Xome's response. If Xome has no connection to either company, I am sure he won't care about my comments and that he'll be getting involved in other discussions and activities at JPF. Or perhaps he'll choose to clarify or dispute my comments. I am always happy to learn something new about either company.

To David,there's no doubt that Broadjam is probably trying to improve what they do and that's a good thing. But I can't let comments that they are on the same level as TAXI go without correcting it. They simply are not. It's a fact.

I was a member of Taxi for a few months.I sent them two songs of mine and they trashed them.Those 2 same songs were hit songs according to the major players.But I have no hard feelings towards Taxi.I got out and got my money back.Maybe my songs were too pop and commercial for them.

Doesn't sound like you gave them much of a chance, Flowergirl. Did they really trash the songs, or did they tell you what needed improvement before they were willing to forward it? Or were they maybe not a precise fit for the listing? I ask because I've never heard of them just trashing something...they have a stake in encouraging improvement.

You should post a link to those songs and post the actual critiques and then folks here can hear it for themselves and see if the critiques were fair or off base. That would be quite enlightening. You say they are hits, so have they been commercially released and successful?

Give us the entire story, not just a tiny piece of it. That way everyone can see the facts and hear for themselves. If they are truly hits, I am happy to try and help you myself.

I just posted about this on another thread, so I will give the short version here: Your song may be an absolutely fantastic, beautifully written, hit-laden masterpiece, but if it is not the perfect song for the project they are screening for, your song will be passed upon. That is what TAXI does. They screen music for their clients, looking for music that will meet their client's needs.

I understand that one of the big issues on Taxi is the need to submit a song that meets the requirements of the listing. Seventy five percent of the songs submitted are unresponsive ie do not meet the criteria of the listing. A great rock song is not going to get forwarded when the listing calls for a contemporary country song. This seems obvious, but apparantly it is not to many submitters.

I edited out what I put down because it seemed too long and incoherent.But if someone does not want to make a full time commitment with music because of other obligations, how does one like that better network themselves?I have recordings I am working on and feel very serious about it and would like to eventually network with others.But that may be a loose time table, since I do not know where my job or family obligations will take me.I have been looking a bit in forums and also at TAXI.Anyone here in my situation with it?

I read a few pages of the success stories on a taxi form and all their succsess was have a piece picked up for a tv show...has any one seen a taxi member get success beyond that? i mean they also pitch to labels as well right?

I read a few pages of the success stories on a taxi form and all their succsess was have a piece picked up for a tv show...has any one seen a taxi member get success beyond that? i mean they also pitch to labels as well right?

Definitely. Crossfade is a band that got signed to a national label through TAXI. A couple TAXI writers also cowrote an extremely successful cut for Kenny Rogers.

But these kinds of deals, you have to understand, are not easy to get or commonplace, anywhere, for anyone. Just look at the ratio of profitable recordings released by the industry vs. the number of writers and songs in a given year. The odds are staggering.

So yeah, TV/Film deals are much easier to land. TAXI has wicked good connections there, too. Land one of those suckers and hope the program gets syndicated. Imagine writing the theme song for a show like The Sopranos.

All deals are longshots. Right now, TV/Film is a pretty good market to shoot for.

Did you ever hear of "Buy Me A Rose" by Kenny Rogers. Two TAXI members co-wrote that song. I hear them perform it at a Road Rally before it became a hit. Once I heard it, there was no question in my mind that it was going to be a #1 hit - and I can count the times on my hand that I've had that feeling.

Sixpence None The Richer and Fisher were both significantly helped by TAXI. There are less than 1000 artists on ALL major labels combined right now and half of those are Classical artists. Most of those reming 500 are very long term superstars. The microscopic number of new artists getting deals make it pretty much impossible for anyone not connected to the producers and power players at those labels to get any consideration. If you're an artist trying to get a record deal, I don't think TAXI is likely to be your pathway because almost nobody is getting a deal. Katy Perry WORKED at TAXI before her deal. Their screeners are full of major A&R staff and there are some active publishers and A%R people who screen for them as well. But the opportunities are just so few to get a deal that 1 thing alone is not going to be your ticket. If you don't have a lot of other stuff going on, then TAXI alone is not going to get you a deal as an artist. There's just too many things you have to be doing very well in addition. TAXI might, however, put a very active band with tons going for them in front of the right people at the right time. And THAT is a big opportunity. It won't get credited to TAXI, but they certainly have to be considered part of the reason. And that's what ALL the things you do are. It's a sum total of everything, not ever just 1 thing. If you're an artist with nothing going on who only plays in your basement and isn't selling any CD's or doing well attended live shows, and who doesn't have their act together in the marketing and business side of things, TAXI nor anyone else can help you.

So unless that applies to you Mike, then I wouldn't use TAXI as the pathway to get a label deal. You won't be plucked from complete obscurity just as actresses are no longer found at soda counters on Hollywood and Vine. (And actually never were.. that was a marketing created myth). But TAXI can be one of your tools that, when combined with a lot of other stuff, can really be a great way to get your music in front of a decision maker who may not sign you on the spot, but will later remember you because of it. And folks who sign acts these days are NEVER going to publicly recognize the people who brought the act to their attention. That's just not the real world.

TAXI's claim to fame is that they are, by a large margin, the best at what they do in the industry. They are honest, they have far superior contacts to anyone else who tries to compete with them, and they have actual success stories in the real music industry. If you scoff at all those deals it simply shows you don't understand how making a real living in the music industry works. Every little deal and opportunity leads to a new one and keeps you alive another day to reach your goals. Show me someone in their field doing it better?

I just came across this discussion, interesting as I have belonged to both groups. I still have a website on broadjam, but gave up my Taxi membership a couple of years ago as it was costing about $350 a year. I pay $35 to $50 to keep my 50 songs and website on Broadjam. I had been with Taxi for over 10 years with an occasional year off when money was tight or I had someone else to pitch my songs. I've had numerous forwards with Taxi, had one song published and sold one to an independent movie, which unfortunately was not a big hit. I know several of the Taxi screeners or ones who used to screen for them and had my song "Freefall" on the Taxi promo CD "Country Jams" which included "Buy Me a Rose" and songs by Randy Bachman, Jimmy Muffin, Larry Cordle, and Lindy Robbins. Taxi pitched these songs on Music Row and I got to meet Rex Benson who published that song, almost got it cut and published my song " The Other Side of Goodbye" which he pitched to some major acts in Nashville. Rex no longer works for Taxi as he needed more time for his own Publishing business. I've been to several 'Road Rallys" and I've seen Broadjam there, I'm forgetting the gentlemans name who runs it. The biggest difference is with Taxi you always get a professional opinion of your song and it's going to be much better to help you meet the bar and to try to fit you into a slot or style that can be sold. Also you'll get the chance to network more, especially at the "Road Rally" you can make some good contacts. Of course as usual a lot of it is up to you and I was lucky at the time to be living in LA where I could go to work shops with industry professionals on a regular basis. Taxi still lists songs for Country and other genres and they have a "dispatch" service which is for TV and Film mostly. This costs extra. Broadjam was used by Taxi as their way of delivering songs online, before you had to mail in cassettes and Broadjam was much better, faster and easier. They have Top Ten lists and categories kind of like Soundclick and lots of contests. A friend of mine has been a top finisher in their Six Pack Songwriting contest with lots of nice prizes. Just like on Taxi you find people at all levels of talent and success there. Because it's a peer review system it helps to be a self-promoter there especially and the blogs seem be important. I've had a whole bunch of #1 and Top 10 songs on Broadjam, but don't put my songs up for review currently. You can submit your songs for listing for TV and film there too. It can be fun and you have a more direct connection to other artists than at Taxi where you are trying to impress the screeners. And there are industry professionals who are around looking for songs and talent. You get a site on Broadjam where you can list info about yourself and your gigs, so good for a self promoter.

I have looked at T.V. and films myself, now that a poster mentioned that here.I don't have a wild use of connections outside of musician friends that have played loud metal, which is what I don't do, outside of quiet influences with those chord scales. As well as numerous takes I have had slogging my recordings on the internet.

But since I am at home with this, films would be a great thing for me.

I may sign up with TAXI for those set of recordings that I have created for that.

But I have come across companies that pretend to like me so I sign up. And that was with my earliest recordings to where I looked more at a sound template then what is professional.There has also been the "honest how bad you are" musician types that wanted me to pay for all this rigimeroe or go through this and that to be with their set of "standards".I get takes and takes, and many more, and I am certain of the type of recordings I want to do.

Finding members that have been members at TAXI and some networking support would make me a lot less uncomfortable about slapping down good money for it.

You can't view it like a lottery. With a lottery, talent never has an effect on who wins. In the music industry, it's a requirement before you can get a ticket to enter.

TAXI will NEVER make your badly written song a hit. It will NEVER get it published or placed with an artist or into a movie. But.. if you read their feedback when they say something fell short, and you work to improve and direct your efforts in the ways they suggest, you will inch closer to being good enough to actually be competitive in the process. And until you do that, nothing you do matters. You can't buy your success. If you could, all the labels would be in front of you because they have a lot more money. And the labels fail 90% of the time. So, don't view TAXI as a lottery ticket where you can throw stuff up and it might stick. It won't unless it's both good enough AND it fits the need they are trying to fill. Nothing short of that will get placed or even forwarded for that matter. But it's a great measuring stick and if you can keep from being defensive like so many artist/writers are when they get critiqued, and you are willing to enthusiastically work to raise the bar on your work and do it in the direction they suggest, you'll start to learn the difference between someone who is simple an artist, and someone who is a commercially VIABLE artist. Big difference and something most never bother to learn.

I have, in my experience, achieved more success from Taxi than from Broadjam. Example, my music is now heard daily on a big TV show which starts with a massive "O" and I shall say no more... It was my first submission to Taxi, 5 years ago, and the "O" company (which actually starts with an "H", as a corporation), contacted me and were all into what I was doing..

But at that point, I was submitting via Broadjam... So I suppose the split between the two is an interesting thing.. But TAXI works.. I have no real experience with Broadjam.. But I suggest Taxi due to their connections and experience.

There was this other thing that was a HARPO Production, but I will not get in to that.

I hear a lot about if someone has a good song to present they can do no wrong.

I don't know how much the musician can make that distiction.Everyone is different about what that good song is.

But then there is finding a medium and going with what one is better at after getting take after take.

I do not base which sites I frequent on who likes me.I look at the different forums that are offered and reciprocation.

I don't have much musically in common with the members here or their experiences other then I want to trad up a bit with the type of music I started doing and I like the recording and theory forums and the ones that talk about the business part of it, like here.

All I would want for that cd I have in store is to get some engineers and musicians to play the parts and make it more of a collaberitive effort.Not "to do this to be taken seriously" or someone that is going to go against my creatve desires and try to run up an account on me.

I ran screaming to alt rock when it came out and don't care for the image or impression contests.

I just want to see what may be workable in my artistic goals.

There are many on the net that are out to fulfill an artistic void.

Many "pros" would say that is just to kick out something to family and friends and "not serious".

There is defintely something to be said in that business side of it.

But if someone is going to pay out their money, then there should be the people for that type of music.

It is a job.But unlike the rest of them, there is not as much put on the follow through.

That would be my only reservation.Not a star search contest from pop stars and their connections.But if there can be the people to meet those needs.

Free music sites already have that.

But as far as the promotional part, I would like that to be more left up to a consensus then a panel of judges.

If I could get that side bit of promotion to get my professionally intended recordings to who I want, agents or whoever, that would be great.

I do not mind advice on what to present, but I would like to make my own decision on what is promo'd from me.

Yes, John, you're right about the show... and believe me when the rep from Taxi called me that fateful day and asked me if I was "sitting down".. they weren't kidding.. But it's been a few years and I can offer more perspective.

Like any business (and yes mattbanx, you're right, it's a business), they simply want what is useable. For that particular field... infamously known as the "Library" field. Which is great, because you get paid every time something you wrote for them is used (which luckily for me, has actually been quite a lot)... but for those trying to strike it in the "Band" field... "Listen to me, I'm the next Radiohead"... it's trickier.. because 75% of it is image, and fanbase.. They don't take risks.. they want an established group of followers before they take notice... Gone are the days of 'risk'.

However, if you have self-produced, good sounding recordings, then you can most certainly get them directly used (trust me, they don't want to re-record anything).. in licensing and TV, promos, intros, film.. anything... and not to mention the royalties for every time those are aired again.. and again...

I've found the biggest difficulty is this: Are you a writer/composer or an artist/image.

Believe me when I say, there is FAR more work for the former than the latter. Record labels want to pump out artists like hotcakes.. hot for a few minutes, then cold... Next... while I have one particular song on the "O" show and the 25th "O" DVD which is used so many times I've lost track... in my time, I've conducted my city's symphony orchestra because they wanted that "full hollywood sound".. and been given the budget.. it's a wild ride.. but be clear on what your aim is. And above all, they respect not just talent, but applicability: It may be the coolest Electronica/Acid Jazz in history... but, that's the "show" part of "showbusiness"... don't forget, these guys all want to satisfy the "business" side too... and that's applicability..

For one particular episode about Martin Luther King (MLK day), at 11pm they said, "we need a song for the I Have A Dream Speech"... I was a little floored, but not unready. So they sent me the footage, and I improvised the piano to it.. and from there, enhanced the moments with strings, horns, etc.. And at prime time (not the usual day time slot) the next day over 100 million people tuned in. But it was no different than writing for a 15 second commercial bumper.. or a 3 minute sob-piece about a family who lost everything. Ultimately it's about applicability.

This is how I base my Taxi / Broadjam decisions.. Taxi has the real stuff. This is the time to make a definitive decision, and move on it.

I like doing a hodge podge of different influences other then something prose oriented.Even though I would stick around something more prose oriented for that finished cd.

I never viewed a quality production on how big it is.Or small for that matter.I like stuff like Chicago, Steely Dan, and Paul McCartney but could listen to MC5, The Stooges, or early grunge and post punk acts that recorded on practically nothing also.

There are people that make some great productions that record on even less then I do.The main reason that I have seen for big studio productions seems to have much to do with the credits I see on these major label cd's.

Are their people that often with their own small home productions to where they can be left as they are in a larger circuit?

When you’re forwarded by TAXI, they give you the forwarding company’s name. Broadjam could be sending your music to the man in the moon. The only way you'll ever know is if the forwarding company contacts you directly.

I also contacted several Broadjam members that got publishing deals through Broadjam’s mechanism. Not one of them actually got placements as yet. Publishing without placements is like an automobile without gas - useless!

TAXI's the real deal - but be prepared for colossal competition.

John

TAXI informed me that one of my submissions was `weird enough' and that they were sending it to their client. I never heard who that client was, but it's only been about 3 years now.

No, we didn't call TAXI...probably because we weren't aware that they should have forwarded anything to us, regarding the client.

This was also about the same time when we met someone from TAXI (at a social gathering), who admitted to sometimes not really knowing what his clients really wanted. It must have been the wine talking, but that INSTANTLY told me that I would not be renewing my membership.

I suspect that he was one of the few that slipped through TAXI's training/qualifying cracks.